Andrea Grant may just be the most interesting figure in fashion. The Canadian beauty is editor-in-chief of popular fashion site and forum, The Fashion Spot, yet her truest calling comes in the form of a comic book. (You read it right – comic book.) I had the opportunity to join her in world domination at this month’s Comic Con at New York’s own Javits Center. Grant lives as two (or three?) alter-egos… there’s the Minx (illustrated by L. Rey Arzeno) – her pin-up-inspired vigilante character, whose life is led battling traditional villainous comic book fare: “elaborate conspiracy, ancient prophecy, and devastating betrayal”… and then there’s the internet’s own Ready to Where?, which finds Grant as herself (or rather, editor-self) conquering fashion columns, runway shows, and of course, pretentious VIP’s. What’s so Smoke & Mirrors about Grant’s double life? Obviously the fashion, but, also the idea that there’s something under the surface; something unexpected and genre-defying. Did I mention Minx‘s arch rival is BC-based alterna-hip-hop group, Swollen Member‘s Prevail? Pretty rad if you ask me.

My editor at The FADER put it best… Willow’s not actually 9, she’s instead an un-aged 35 year old preserved by Scientology. It’s obviously the reason she chose to revamp the 80’s Devo classic, “Whip It.” It’s a total nod to her generation.

As if it were Nineteen-Naughty-Four again, the girls are back to taking style cues from the boys. Inspired by the domineering, tough-edged aesthetic of yesteryear’s street styles so epitomized by Aaliyah, Janet Jackson, TLC and their backup dancers. Tight underwear-as-outerwear tops offset baggy bottoms to create a look that’s braced for its grand return.

the second selection of paintings by kehinde wiley

At the moment, Haider Ackermann is undoubtedly one of the best designers fashion has to offer. His styling is always a notch above the rest, and his clothing is sublimely situated between Rick Owen‘s hard-edged streetwear and Tom Ford’s ultra-luxe evening glamour.

After designing what was perhaps the best collection shown during Paris Fashion Week, Ackermann will no longer be relegated to alterna-label status. Ackermann now accompanies the ranks of Alber Elbaz for Lanvin and Riccardo Tisci of Givenchy.

It’s obvious the man knows how to cut, drape and synthesize in the most modern of ways (see his elegant silk dresses offset by strappy leather belting and moto-jacket details for proof). Ackermann knows precisely how to construct garments that straddle aesthetic categorizations.

His looks are developed as neo-classic juxtapositions, never complete without the balancing act of history (kimono-sleeves) and modernity (utility strapping).

Ackermann’s garments are assaultingly sexy. Slits travel vertically from floor to crotch and necklines plunge lower than one’s belly button, challenging prior works by Gianni Versace and Dolce & Gabbana. Using dark-washed leather, he counterbalances vibrant-colored pleated silks with a seductive gothic sensibility. Overall, there isn’t a piece in the collection that could do today’s woman wrong.

photos courtesy of style.com

Whatta you get when you cross an age-old Wizard of Oz chant (The flying monkeys’ Ohh wee ohh, ohh, ohhh) and an R&B singer with a similar last name to a certain computer game? Sterling Simms’ latest single listens like this century’s very own ringtone-ready, Gregorian fight song.

the first selection of paintings by kehinde wiley

photos courtesy of columbus museum

Ever since designer Martin Margiela left his fashion house to the Diesel denim conglomerate, the Maison Martin Margiela brand has been under intense scrutiny, getting panned by the fashion elite season-after-season. Whether or not this unshakable sense of animosity is due to a lack of authenticity or just plain “bad design” remains in question.

This spring, however, the team behind the new house of (MMM) presented a collection packed with Margiela-isms. Think full shoulders, odd re-imaginings, and otherworldly reconstructions.

Beginning with an uninspired button-down shirtdress, the show started off on an overtly casual note. Within seconds, however, Margiela began to appear in fine form. Silhouettes started morphing and proportions began growing with each successive look. High-waisted trousers became cartoonishly oversized, with waistlines jutting out from models’ sides as if they were concealing cardboard boxes within them. Gaga-worthy statement pieces, like box-structured trench tops and sandwich-board planar jackets, looked severe yet laughable (in a good way).

Undoubtedly artistic, the collection appeared more music video-ready than street-appropriate, lacking the innate personality Margiela brought to his garments. However, the Spring 2011 collection did bring new life to (MMM)’s subdued eccentricity.

Christopher Ries a.k.a. Young Chris doesn’t have the best luck in the world – considering he’s most remembered for sharing the mic with Young Gunz bandmate, Neef Buck, he got nixed from Roc-A-Fella once the label dissolved, his ’08 solo LP never saw the light of day, and has recently been relegated to producer Rico Love’s Universal/Motown subset, Division 1. (What’s that?) Yet, with all his shortcomings, it seems the kid’s conditioned his rhymes into tip-top form. This track, which dropped just last week, tickled my fancy with its referencing each and every superstar hailing from the 215 since hip-hop began; from Ahmir “?uestlove” Thompson to the Fresh Prince. Oh, and did I mention the beat? Produced by Rico Love and Earl & E, it’s like “Beamer, Benz, or Bentley” times a thousand. Or, if Rico took up glass harmonics and magnified the echos 6,000% to sound something like the sickest game of laser tag ever. It’s like that.

It’s no surprise that Alber Elbaz’s Spring 2011 collection for Lanvin was one of the true delights this Paris Fashion Week. The man’s got a solid track record of dressing the biggest names in Hollywood, and the front row read like a CV to prove it, with Janet Jackson and Dita Von Teese among the top tier.

The collection focused on Elbaz’s love affair with the female body. Known for his vibrant utilization of color and lighter-than-air silks, Elbaz, this time, wielded muted tones and Fortuny-inspired mini-pleats to kick off the show. By look 25, however, Elbaz was toying with hints of the house’s traditional vibrancy, only to return to earthier tones for the remainder of the show. By the finale, jewelry designer Elie Top’s embellishments returned to the forefront, only slightly more minimal than last season’s African tribalism.

Jeanne Lanvin would be grinning – asymmetric creations saw her skillful couture methods put to good use. Elbaz livened house favorites with visible seams, cut-outs, leather harnesses, and zipper details that often acted as a separation between colors and fabrics.

Gathered evening dresses came long-sleeved and short, ranged in shape, and followed the house’s tradition of wearability. But nothing looked more modern than the oversized tunic-like raincoats, made of sheeny nylon, that looked fit for a nuclear shower.

The collection’s real showstoppers, however, were the accessories. Spring can’t come soon enough, considering the beetle bracelets and plexiglass invisi-wedges Elbaz sent down the runway come out next year.

Click ‘Like’ on Wonderland magazine’s Facebook page through this Friday, then @ them in your status to enter to win a free year subscription! Click the image above to be forwarded to their page. Good luck.

In the realm of gothic goodness, Rick Owens is God. Yet, one might not know it from viewing his latest outing.

Within the walls of Paris’ Palais de Tokyo museum, Mr. Owens presented his most subtle collection to date. Known for his distressed aesthetic of large-lapelled leather jackets and rock star man-heels, Owens flipped the script for spring – concentrating on haute couture construction and cleaner-than-clean lines, to much triumph.

While others capitalize upon the hard-edged territory that is Rick Owens, the designer himself abandoned the dark side altogether for a valiant leap into the heavens. Stunning linear creations looked as though they were seamless, coming together piece-by-piece to make a perfect whole.

The Jedi theme even carried over into the hair styles, which were slicked into bone-barrette crowns shaped as alien antennae. Perhaps Owens’ most successful fete was in the minimal amount of manipulation he used for his silks (the true basis of the collection).

Plenty of dresses appeared in empire shapes, seemingly untouched by the human hand. From voluminous to sylphlike, Owens took complete control of his fabrics – silken canvas, leathers, and cotton – without a second thought of adornment, while still fashioning forms that modern women will covet.

Only one year ago, Mr. Cossom was hustling around MySpace for a record deal… now he’s not only scored a deal with Jive, but, has managed to glean Danjahandz as producer of his club-thumping first single and acquire Diddy and Fabolous as guest features. The question remains: who did he fuck?